About This Artwork

Claude Monet
French, 1840-1926

Venice, Palazzo Dario, 1908

Oil on canvas
66.2 x 81.8 cm (26 1/16 x 32 3/16 in.)
Inscribed lower left: Claude Monet 1908

Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.446

The Venetian series that Claude Monet began during his stay in the city in 1908 comprised 37 paintings of 10 different motifs. Here his main subject is the marble facade of the 15th-century Palazzo Dario on the Grand Canal.

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Bernheim-Jeune, Claude Monet: “Venise,” May 28–June 8, 1912, cat. 19, as Le Palais Dario.

Boston, Brooks Reed Gallery, Monet. Venise, late Oct. 1912.

Boston, Brooks Reed Gallery, Tableaux Durand-Ruel, Mar. 1921.

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 26.

Art Institute of Chicago, ”A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 221.

University of Chicago, Lexington Hall, Nov. 28–Dec. 19, 1951, no cat.

Chicago, Remington Rand, window display, Apr. 14–30, 1952, no cat.

University of Chicago, Lexington Hall, Mar. 1–20, 1954, no cat.

University of Chicago, Lexington Hall, Feb. 25–Mar. 11, 1955, no cat.

University of Chicago, College of Humanities, Feb. 27–Mar. 16, 1956, no cat.

Park Forest (Ill.) Art Center, Mar. 25–Apr. 22, 1956, no cat.

Art Center in La Jolla (Calif.), Great French Paintings, 1870–1910, June 15–July 26, 1956, cat. 10 (ill.).

Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.

New York, Museum of Modern Art, Claude Monet: Seasons and Moments, Mar. 9–May 15, 1960, cat. 97; Los Angeles County Museum, June 14–Aug. 7, 1960.

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 113 (ill.).

Fort Worth, Tex., Kimbell Art Museum, Monet and the Mediterranean, June 8–Sept. 7, 1997, cat. 93 (ill.); New York, Brooklyn Museum of Art, Oct. 10, 1997–Jan. 4, 1998.

Toronto, Art Gallery of Ontario, Turner; Whistler; Monet, June 12–Sept. 12, 2004, cat. 88 (ill.); Paris, Galeries Nationales du Grand Palais, Oct. 12, 2004–Jan. 17, 2005; London, Tate Britain, Feb. 10–May 15, 2005.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 89 (ill.).

Rouen, Musée des Beaux-Arts, Éblouissants reflets: Cent chefs-d’oeuvre impressionnistes, Apr. 29–Sept. 30, 2013, cat. 155 (ill.).

London, The National Gallery, Monet & Architecture, Apr. 9-July 9, 2018, plate 193 (ill).

Publication History

Bernheim-Jeune, Claude Monet: “Venise,” with a preface by Octave Mirbeau, exh. cat. (Bernheim-Jeune, [1912]), cat. 19.

Gustave Geffroy, “La Venise de Claude Monet,” La dépêche de Toulouse, May 30, 1912, p. 1.

“Art et curiosité: Une féerie de lumière et de couleur; Venise vue par Cl. Monet,” Le temps, June 11, 1912, p. 4.

Henri Genet, “Beaux-Arts et curiosité. Les ‘Venise’ de Cl. Monet,” L’opinion, June 1, 1912, p. 698.

“Revue des ventes. New York,” Le journal des arts, Feb. 21, 1920, p. 3.

“Collections Emmons, Flanagan Sayles et autres à New York,” La chronique des arts 4 (Feb. 29, 1920), p. 32.

Gustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (G. Crès, 1922), opp. p. 312 (ill.).

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), p. 20, cat. 26.

Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 38, cat. 221.

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), pp. 254, fig. 121; 255; 288.

Art Center in La Jolla, Great French Paintings, 1870–1910, exh. cat. (Art Center in La Jolla, 1956), p. 13, cat. 10 (ill.).

Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.

William C. Seitz, Claude Monet: Seasons and Moments, exh. cat. (Museum of Modern Art, New York/Los Angeles County Museum of Art/Doubleday, 1960), p. 63, cat. 97.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 322.

James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo 84, 55 (Sept. 1966), p. 222.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 170, cat. 113 (ill.).

James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 59, cat. 3B4; microfiche 3, no. B4 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 240; 241, cat. 1757 (ill.); 385, letter 2012a; 430, pièces justificatives 239, 240, 241; 431, pièce justificative 294; 432, pièce justificative 313.

Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 118, cat. D404.
Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 65; 103, pl. 32; 109.

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 389, cat. 1757 (ill.).

Daniel Wildenstein, Monet: Catalogue raisonné, vol. 4, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Institute, 1996), pp. 822–24, cat. 1757 (ill.).

Pablo García Sainz, ed., “Los Pintores de Venecia,” Saber ver: Lo contemporáneo del arte 37 (Nov.–Dec. 1997), pp. 71, 72 (ill.).

Joachim Pissarro, Monet and the Mediterranean, exh. cat. (Kimbell Art Museum/Rizzoli, 1997), pp. 164; 167, pl. 93.

Matthias Arnold, Claude Monet, Rowohlts Monographien (Rowohlt, 1998), p. 141 (ill.). Translated by Anne Wyburd, Monet (Haus, 2005), p. 145 (detail).

Norio Shimada and Keiko Sakagami, Kurōdo Mone meigashū: Hikari to kaze no kiseki [Claude Monet: 1881–1926], vol. 2 (Nihon Bijutsu Kyōiku Sentā, 2001), pp. 130, no. 253 (ill.); 191.

Katharine Lochnan, “Turner, Whistler, Monet: An Artistic Dialogue,” in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario/Tate Publishing, 2004), p. 35.

John House, “Tinted Steam: Turner and Impressionism,” in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario/Tate Publishing, 2004), p. 49.

Sylvie Patin, “The Last Act: Turner, Whistler and Monet in Venice,” in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario/Tate Publishing, 2004), pp. 206; 212; 213, no. 88; 214, no. 88 (ill.).

Stephen F. Eisenman, “Death and Tourism: Claude Monet’s Paintings of Venice,” in Value: Art: Politics: Criticism, Meaning and Interpretation after Postmodernism, ed. Jonathan Harris (Liverpool University Press, 2007), p. 141, fig. 11.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), p. 171, cat. 89 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), p. 171, cat. 89 (ill.).

Philippe Piguet, Monet et Venise, rev. and complete ed. (Herscher, 2008), pp. 110-11 (ill.).

Ségolène Le Men, “Un horizon de peinture,” in Sylvain Amic, Eblouissants reflets: Cent chefs-d’œuvre impressionnistes, exh. cat. (Réunion des Musées Nationaux-Grand Palais/Musée de la Ville de Rouen, 2013), pp. 281; 284, cat. 155 (ill.).

“Cat. 45: Venice, Palazzo Dario, 1908” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Richard Thomson, Monet and Architecture, exh. cat. (National Gallery Company London/ Yale University Press, 2018), pp. 204, 205, plate193 (ill), 229, 248.

Ownership History

Sold by the artist, in half-shares, to Bernheim-Jeune, Paris, and Durand-Ruel, Paris, Apr. 10, 1912, for 10,000 francs. [The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 10000, as Palais Dario): “Purchased from Monet with Bernheim-Jeune (half share) by DR Paris on 10 April 1912 for 10 000 F / Stock DR Paris no. 10000; photo no. 7266 / (Bernheim-Jeune stock no. 19267, no. 19 of the exhibition),” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.]

Sold to Durand-Ruel, New York, Oct. 11, 1912, or Oct. 17, 1912. [The Paris and New York Durand-Ruel stock books record different dates for the sale. The Paris stock book states: “Sold to DR New York on 11 October 1911.” The New York stock book for 1904–24 states: “Purchased by DR New York on 17 October 1912 as Venise, Palais Dario, 1908 / Stock DR New York no. 3542,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.]

Sold by Durand-Ruel, New York, to Arthur B. Emmons, Newport, Rhode Island, Dec. 26, 1912, for $7,500. [The transaction is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 3542, as Venise, Palais Dario, 1908): “sold to A. B Emmons on 26 December 1912 for $7 500,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.]

Sold by Arthur B. Emmons, Newport, Rhode Island, to Durand-Ruel, New York, May 27, 1913, for 37,600 francs. [The transaction is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 3647, as Venise, Palais Dario, 1908): “purchased from A. B. Emmons on 27 May 1913 for 37 600 F / Stock DR New York no. 3647,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.]

Sold by Durand-Ruel, New York, to Arthur B. Emmons, Newport, Rhode Island, May 27, 1913, for $6,500. [The transaction is recorded in the Durand-Ruel, New York, stock book 1904–1924 (no. 3647, as Venise, Palais Dario, 1908): “sold to A.B Emmons on 27 May 1913 for $6 500,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago. About this May 27, 1913 transaction, the Durand-Ruel Archives references a letter from Durand-Ruel, New York, to Durand-Ruel, Paris, dated May 26, 1913, which states: “il (Mr. Emmons) prend 5 tableaux de Monet, et les paiera le 1er Juillet – mais conserve le droit – dont il n’usera probablement pas, de n’en prendre que [blank]. L’affaire étant faite, vu son importance, avec une réduction de 20% s/ [sic] les prix marqués, je préfère pour la régularité, racheter à Mr. Emmons la vue de Venise qu’on lui avait vendue précédemment, et la lui revendre au nouveau prix.”]

Sold at the Arthur B. Emmons, Newport, Rhode Island, sale, American Art Association, New York, Jan. 14, 1920, lot 42, to Durand-Ruel, New York, and Knoedler, New York, in half-shares, for $5,800. [According to the Durand-Ruel Archives, “purchased by DR New York and Knoedler (half share for each) on 14 January 1920 at the Emmons, Flanagan, Sayles sale at the American Art Association (lot no. 42: Venise, le Palais Dario), for $ 5,800 [from the annotated catalogue of the sale] / Stock DR New York no. 4408.” This transaction is also recorded in the Durand-Ruel, New York, stock book 1904–1924; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago. See also American Art Association, New York, Illustrated Catalogue of Highly Important Old and Modern Paintings of Sterling Artistic Distinction belonging to Mr. Arthur B. Emmons, Newport, to the Estate of the Late Thatcher M. Adams, New York, to the Private Collector Mr. Joseph F. Flanagan, Boston, Collections of the late Mr. Henry Sayles, Boston and Mrs. Harris B. Dick, New York, and Other Estates and Private Owners (American Art Association, Jan. 14, 1920), lot 42 (ill.). An annotated version of the sale catalogue is located in the Ryerson and Burnham Libraries, Art Institute of Chicago.]

Sold by Durand-Ruel, New York, to Mrs. Lewis Larned (Annie Swan) Coburn, Chicago, Feb. 8, 1923, for $9,735 + tax. [This is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 4408, as Venise, Palais Dario, 1908): “Sold to Mrs. A.S. Coburn on 8 February 1923 for $ 9 735 + tax,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.]

Bequeathed by Mrs. Lewis Larned (Annie Swan) Coburn (died 1932), Chicago, to the Art Institute of Chicago, 1933.




View mobile website